The Guardian from London, Greater London, England • 35

THE GUARDIAN Thursday September 9 1993 Style 13 When is a soap star not a soap star? When he or she goes pop. Kylie and Jason did it, Dannii did it, now Gayle and Gillian are following suit. From small screen to a place in the charts in no more time than it takes to hire a very clever stylist Altered images Catherine Wilson ILLIAN BLAKENEY gig. we gles. cited," are "We she cashing are says.

in terribly "I on admit our extelevision fame but doing a soap leaves you thirsty for more and have always wanted to sing." Gillian is one half of the Alessi twins in Neighbours. She and her sister, Gayle, have just been launched in multicoloured, flared pant-suits and platform shoes -into the pop world by stylists whose clients include the Chippendales. Their first single was a boppy Europop number called Mad If You Don't. The on-going wave of soap stars turning into pop stars began, of course, with Kylie Minogue. Once she played Charlene, the girl-nextdoor in Neighbours.

Then she released a record called I Should Be So Lucky, and she was. The teenybopper topped the charts, left the soap and has since become a show business phenomenon. There followed Jason Donovan, Minogue's on-screen husband, then sister Dannii, ex-star of Home and Away. "I'm not the best singer, the best dancer or the best actress in the world," she says down the phone from New York. "I've just had a lot of help and some big breaks.

When your lucky number comes up, you have to go for it." The crucial strategy in the switch from homely soap star to pop star is the production of a new image. For these professional personalities, ability as an actor or talent as singer is completely immaterial because they depend on their appearance to promote themselves. Image is all and the Australian wannabes have a fund of experienced managers, publicists and stylists they can employ, with inside knowledge of the Smash Hits and Just Seventeen markets. "These artists only sell records because they look great," says a mole at Mushroom Records UK, the label behind Gayle and Gillian. "It's sad but true: you have to get the marketing and the image right, or you can forget it." Perhaps this explains the performance of Mad If You Don't.

"Mmmm, the first single didn't really do very well," Gillian agrees. "I think it only got to number 72, but the mix was all wrong. The record company had a heart attack. I think they thought the old recipe of Neighbours pop star wasn't going to work. We've got a new stylist now and we're very excited about our new image, it's much more sophisticated.

When is this article coming out? Thursday? Oh, that's a shame, it's too soon to tell you about it yet." The soap to pop trail is not the exclusive preserve of Australians. In this country, actors and actresses from EastEnders have also made a bid for the charts. Nick Berry, Anita Dobson and Letitia Dean have all released one off singles with varying degrees of success. The latest, Michelle Gayle who plays. Hattie, released.

the soulful. Looking Up, in July; it reached number 11. "I didn't see it as a career move, it was just something that I wanted to do," Gayle explains. "I've been offered record contracts for Kylie Minogue-type stuff and I've always turned it down because that's not what I wanted to do." Gayle appears to have succeeded with credibility intact, something rare among the soap to pop brigade. Michelle Collins wasn't so lucky.

Her cover version of the sixties tune Get Ready was recorded but never released amid excuses of competition from Whitney Houston. At the time, she unfortunately made the following comment: "I know people will say I am cashing in on EastEnders but what if it works well and I record another and that's a hit too? Then they will have to take me seriously." Nothing happened. Maybe the packaging never worked out. Sian Martin, who played Gidea in EastEnders, is another actress hoping for pop stardom, but she's waiting. "The Australians have made it very hard for us with their bubblegum music and teeny-bop imagemaking.

I'm waiting until people have forgotten I was in EastEnders before I release my single. No one will get me in a pointy bra and package me to kids." Steve Sutherland, editor of music paper The NME, is cynical about the phenomenon. "They're just gimmicks. It's easy for the record companies to pick up these girls. Let's be honest, they can't sing, they just look good.

They are another way of making money." Following the success of Kylie's constant image changes, stylists and PRs are acutely aware of keeping one step ahead of teen trends. "People won't stay interested if the image stays the same," says Sue Foster of Sharp End publicity, who handle Kylie, Dannti and Gayle and Gillian. "I know Kylie feels like a blank canvas. She can become a totally different Kylie "These artists only sell records because they look great. It's sad but true: you have to get the image right, or you can forget it' herself has said: "The bottom line is to sell records." One soap star you won't find on the cover of Smash Hits trying to promote his latest pop tune is Paul Usher, who plays the garrulous Barry Grant in Brookside.

He has played in bands, but has stuck to the northern club circuit. "I have had offers from record companies, but I don't think anyone should do anything on the back of something else. haven't heard Gayle and Gillian's music, but I know it's crap. They're just making hay while the sun Is there any other career option on leaving a soap? Are we soon to be swamped by over-slick pop outings from various cast members of Eldorado? Kathy Pitkin, who played child bride Fizz, is thinking of applying for drama school. Julia Fernandez, who played Vanessa Lockhead, was last seen signing on in Essex.

Maybe the stylists and PRs and record companies should seize on them now. For Gillian Blakeney, however, there is always another option if things in the world of stars and personalities don't work out. "I only want to do this for five years. I'm just a family girl, really. I want to find a husband and have kids.

Love comes before everything." Sounds like a cud tor a bong 3 1 1 Self images Anna Massey A NNA is MASSEY, currently 56, is playing an Bel, actress. in Harold Pinter's new play, Moonlight, at London's Almeida Theatre. What image do you have of yourself? As an actress, one has to have many images: you are hopefully a piece of blotting paper upon which people can imagine a new image absorbed. What kind of image are you trying to achieve? Tasteful, subtle and quite quiet; I don't like to be startling. Has your appearance affected your career? If you are a very beautiful woman, you get offered very beautiful parts; if you are like me, they tend to be more varied character roles.

What kind of clothes do you like? As an actress, I think it is important not to dress flamboyantly. I am known as a cardigan person, which can be tedious, but I do feel comfortable in them, they're so reassuring. What do you wear to work? I tend to dress in the style of the character I am playing; it helps in rehearsals. The Pinter character is very smart: I am lucky I have a very beautiful outfit to wear. Seeing double Gayle and Gillian Blakeney then (at the time of their What do you wear to dress up? Jean Muir is my favourite.

Are you aware of fashion? No, I like the classics: a good coat, good shoes, nothing trendy. I have made so many mistakes in the past, I don't give myself the opportunity to blunder any more. Are you happy with your body? Yes. My face is a different matter. Do you diet? No, but I follow the Hay system, not mixing carbohydrates and protein.

Do you exercise? Yes, I have an exercise bike and try to do 20 minutes every morning. Do you wear make-up? I loathe wearing it but I have to. A fabulous woman comes to my house every month and dyes my eyelashes. Would you have plastic surgery? Never. Your face is the face you have lived in, why have it retuned? Are you worried about ageing? No, in the theatre age does not matter: it is possible for me to play a 70- year-old woman and not irapossible to play a 40-year-old.

On film it is different, the camera doth not lie. by Catherine Wilson.